Though the members of Conveyor have only been making music together for a year and a half, in other configurations they’ve clocked in a good 15 collective years. Separately relocating from Gainesville, Florida to Brooklyn, New York, Timothy John Masters, Evan Michael Garfield, G Alan Busch Jr. and Michael Ryan Pedron reconnected in the Big Apple to work on new material and to re-imagine old ideas.

After self-releasing a slew of handmade EPs, the avant-garde four-piece released its self-titled debut full-length in mid-July.

“I think self-releasing things was a good way to start building brand recognition,” explains Masters. “But the overall goal was never to necessarily maneuver people into a position to anticipate a full-length. It was just to release music.”

Whatever the intention was, the four-piece has been gaining momentum from the album, as well as a six-week jaunt through North America. As a band that’s still making a name for itself, Masters believes the most important thing is developing “a live show that separates you from everyone else.” In his particular case, it’s creating intricate, complex instrumentation that can be difficult to translate to a live setting. “It can be a challenge,” he says, “but it’s one that we welcome. As a result, a lot of songs that were recorded before they were regularly performed ended up taking on different forms as we performed them and they evolved. Performance is such a different art form than recording, but we approach it with the same standards with which we approach recording: that it be interesting, engaging, and entertaining.”

So far, Conveyor has succeeded in this particular goal and continues to wow its audiences with a distinct blend of experimental pop.